User:HeyImAl/New sandbox

= Group Sandbox = Next group check-in point: Monday, March 9th

Current Tasks:

Cut down works section, make sure to keep Voyager, the garden project, Lost Boys, Souvenir series, two 2017/2018 works.

Try to find pieces from 2019/2020.

Source hunting for dates of works/exhibitions.

Find and insert an image of Voyager.

To Do:

Hannah: Read through article and make corrections

TJ: Add images in works section

--Section looking beefy, if images don't help break up add subheadings

Roles
Formatting/Organization: Alicia

Cutting Repetition: Abby

Reorganization/putting in chronological order: Cloe

Editing/making sure art is talked about in correct terms : Hannah

Double checking/editing references and pictures: TJ

Alicia Hoerman: Source Notes/Drafted Contributions
An investigation on Marshall's practices and how they relate to black culture within his pieces and contemporary art as a whole.

Talks about Marshall's early years and characteristics of his work.

Where Marshall was born, his studies, and themes of his work.

Marshall, while still in high school, was taught figure drawing and became educated on artists social responsibilities/influences through an African American professor at Otis Art Institute whose paintings focused on social realism, Charles White.

Interview with Marshall, good for acquiring quotes.

Alicia Hoerman: Formatting/Organization
Excerpt from Kerry James Marshal l, Original: "While earning his B.F.A. from Otis College of Art and Design in Los Angeles and studying under Charles White, he worked not have a representational image or a specific story to tell," over abstraction. However, Marshall works to find a balance to retain political content relevant to the Civil Right Movement, the Watts Race Riots, and contemporary African-American experiences."

Excerpt from Kerry James Mar    shal l, Revision: "In high school Marshall began figure drawing under the mentorship of an African American professor who taught at the college Marshall would later attend, Charles White. When he went on to earn his B.F.A. from Otis College of Art and Design in Los Angeles, he worked to "not have a representational image or a specific story to tell," over abstraction. However, Marshall works to find a balance to retain political content relevant to the Civil Right Movement, the Watts Race Riots, and contemporary African-American experiences."

Formatting: Replaced "Influences" with "Early Life", added "Education" and "Social Views/Themes", moved some of the information accordingly. Flipped the locations of "Social Views/Themes" and "Works".

Abby: Cutting Repetition
cut from themes:

His work often deals with the effects of the Civil Rights Movement on domestic life, in addition to working with elements of popular culture.

Most of Marshall’s artwork makes reference to the 1960s, depicting the civil rights movement.

cut from works:

Marshall is known for large-scale paintings, sculptures, and other objects that take African-American life and history as their subject matter. His work often deals with the effects of the Civil Rights Movement on domestic life, in addition to working with elements of popular culture. In a 1998 interview with Bomb Magazine, Marshall observed, "Black people occupy a space, even mundane spaces, in the most fascinating ways. Style is such an integral part of what black people do that just walking is not a simple thing. You've got to walk with style. You've got to talk with a certain rhythm; you've got to do things with some flair. And so in the paintings I try to enact that same tendency toward the theatrical that seems to be so integral a part of the black cultural body." Some of his works, such as La Venus Negra and Voyager combine African aesthetics with Western traditions, showing the struggle of African Americans to find their place in American society. Other projects of Marshall's, namely The Garden Project and Souvenir, demonstrate the issues of race in America from the 1960s and 1970s and onward. The Garden Project also critiques the glorified names of housing projects that conceal desperate poverty while the Lost Boys series examines young black men "lost in the ghetto, lost in public housing, lost in joblessness, and lost in literacy." Marshall's work is dynamic and consistently relevant, especially to the problem of finding an identity.

Cloe Workman: Reorganizing and Chronological Order
Cut from the Awards and Personal Life Section He is married to actress Cheryl Lynn Bruce.

Added that part to his "Life" section. And added the sentence: They met while Bruce was working at the Studio Museum in Harlem and Marshall was beginning his art residency there.

Deleted "Personal Life" from the title so it is now "Awards"

Moved this paragraph to the top of "Works" so it is in chronological order:

"Marshall based several of his pieces in the early 1990s on actual events in American history. One such painting, Voyager, painted in 1992, has special pertinence in a discussion of race issues in the United States because Marshall based it on a "luxury schooner ... secretly outfitted to carry African slaves". Symbols of this representation abound, from the two black figures in the boat and the flowers draped around the woman's neck to the contrast between the light and airy clouds and the darkness of the upper background. A skull lies in the water, just beneath the ship, hinting at the doomed future of the Africans, and the unknown woman has an expression of uneasiness. He thus brings to the forefront the irony of a ship with a beautiful, high class appearance and a dark secret purpose, forcing people to think about something they would rather forget."

Put the "Works" Section in chronological order

He is married to the actress Cheryl Lynn Bruce. They met while Bruce was working at the Studio Museum in Harlem and Marshall was beginning his art residency there.